Portretten van Anna Maria van Schurman, Jacob Adriaensz. Backer en Rembrandt Harmensz. van Rijn 1729

Curator: This engraving from 1729, “Portretten van Anna Maria van Schurman, Jacob Adriaensz. Backer en Rembrandt Harmensz. van Rijn,” made by Jacob Houbraken, presents an interesting visual record. What stands out to you about it? Editor: It's the composition, really. The arrangement of the three portraits, and the decorative border surrounding them. It’s quite detailed for a print, and makes me think about the artistic networks of the time. What's your take? Curator: Indeed. The engraving’s creation involved a collaboration and the transfer of artistic skill. The paper itself is a key component, consider the sourcing of materials, the engraver's tools – each mark carefully made. The act of reproduction through printmaking allowed for wider distribution and consumption. Did the creation of this engraving challenge the hierarchy between original artwork and copies, between painter and printmaker, and how did it operate within the economy of art at the time? Editor: So it’s less about the individual artists and more about how the image came to exist and circulate within society? The commercial aspect, almost? Curator: Precisely. Consider the labour involved. How many prints were made, and who was purchasing them? What kind of social function did they serve? By examining these elements, we gain a more nuanced comprehension of the image's value and effect. This brings the labour involved in art creation to the forefront. It wasn’t just inspiration; there were also economics involved. Editor: That’s a totally different angle than I was considering, focusing on the physical act of production rather than artistic genius! Curator: Thinking about art as material production opens up all sorts of new avenues. Each print reflects decisions related to resources, skill and economic potential. We might question: How can considering this piece through its production enrich our view of its cultural effect? Editor: Definitely gave me a new framework for understanding not only this artwork, but also others as artifacts deeply connected to social and economic forces.